Aerial views showing the Philadelphia Museum of Art, built 1919-1928 after designs by Horace Trumbauer and the firm of Zantzinger, Borie, and Medary., Negative numbers: 12549-12555., Negatives dated May 22, 1930., 12553 not digitized; negative is damaged and cannot be scanned.
Creator
Aero Service Corporation, photographer
Date
1930
Location
Library Company of Philadelphia | Print Department Aero Service [P.8990.12549-12555]
Aerial view showing the Philadelphia Museum of Art, built near the Schuylkill River 1919-1928 after designs by Horace Trumbauer and the firm of Zantzinger, Borie, and Medary. View includes part of West Philadelphia., Negative number: P276., Negative dated September 18, 1931.
Creator
Aero Service Corporation, photographer
Date
1931
Location
Library Company of Philadelphia | Print Department Aero Service [P.8990.P276]
Aerial views showing the Philadelphia Museum of Art under construction. Designed by Horace Trumbauer and the firm of Zantzinger, Borie, and Medary, the museum was built from 1919 to 1928 near the Schuylkill River., Negative numbers: 5493, 5494.
Creator
Aero Service Corporation, photographer
Date
ca. 1925
Location
Library Company of Philadelphia | Print Department Aero Service [P.8990.5493; P.8990.5494]
Aerial view showing the Philadelphia Museum of Art under construction. Designed by Horace Trumbauer and the firm of Zantzinger, Borie, and Medary, the museum was built from 1919 to 1928 near the Schuylkill River. View looking southeast includes Center City to the Delaware River., Negative number: 5915.
Creator
Aero Service Corporation, photographer
Date
ca. 1926
Location
Library Company of Philadelphia | Print Department Aero Service [P.8990.5915]
Aerial view showing the Philadelphia Museum of Art under construction. Designed by Horace Trumbauer and the firm of Zantzinger, Borie, and Medary, the museum was built from 1919 to 1928 near the Schuylkill River. Construction materials are visible around the perimeter of the building., Negative number: 6277.
Creator
Aero Service Corporation, photographer
Date
ca. 1926
Location
Library Company of Philadelphia | Print Department Aero Service [P.8990.6277]
Aerial view showing the Philadelphia Museum of Art under construction, including scaffolding on the front facade. Designed by Horace Trumbauer and the firm of Zantzinger, Borie, and Medary, the museum was built from 1919 to 1928 near the Schuylkill River., Negative number: 7290., 7290 not digitized; negative is damaged and cannot be scanned.
Creator
Aero Service Corporation, photographer
Date
ca. 1926
Location
Library Company of Philadelphia | Print Department Aero Service [P.8990.7290]
Block numbered in two places: 6105, also 1390 on small adhesive label on back of block., Image of a boy and a woman indoors; the boy stands across the table, holding a framed image toward the woman; the woman regards the image and holds a paper in her hand; an open chest or box sits on the ground, and plates, a coat hook, and a large table clock are visible behind them in the room., Signed: H.D. [i.e. Henry Dacre?], “N.J. Wemmer 215 Pear St. Phila” – Back of block. Boxwood dealer Nelson J. Wemmer is listed at this address in Philadelphia city directories from 1861 to 1876., “Tom Tracy. M.S. p. 135.” – Inscribed on side of block., Illustration appears in New book of two hundred pictures, p. 108
Poster containing Gothic-style lettering bordering a central vignette. Vignette depicts an oval-framed mid-length portrait of a lady in medieval attire holding a pencil and sketchpad. The lady's hand with pencil ascends outside of the frame. The professional artists' club was founded in 1860., Not in Wainwright., Philadelphia on Stone, POSP 79, Stein & Jones established in 1859 was active under that name until the death of Stein in 1871.
Date
[1866]
Location
Library Company of Philadelphia | Print Department albums - Specimens Album [P.9349.75a]
View showing a young African American man looking at a display of art works from the "Clothesline Show" in Rittenhouse Square. The man stands to the right of the display composed of two, parallel rows of art hung on clothes lines strung between two trees. A collection of painted canvases rest under the lines in the left. The man stands near the opening to a pathway. A bed of flowers near a lawn of grass is visible in the foreground. The "Clothesline Show," later the Rittenhouse Square Fine art show began in June 1932 with the exhibition of art works within the square by arts students in the Arts Student League. In the following years, professional artists began to display their work as well and in 1976 the show was renamed the Rittenhouse Square Fine Arts Annual. In 2004 the show moved to the outside of the park. In 2005 it was renamed Rittenhouse Square Fine Art Show., Date and title from manuscript note on recto., Part of a number of views of the "Clothelines Show" [P.2017.88.76.5-11] taken by Fetters within a series of his work in the Swayne Collection [P.2017.88.76.1-52]. Most of the views include spectators and two views include the "Lion Crushing the Serpent" statue after the designs of Antoine-Louis Barye., Description reviewed 2022., Access points reviewed 2022.
Creator
Fetters, H.
Date
[1937]
Location
Library Company of Philadelphia | Print Department Robert Swayne Collection [P.2017.88.76.9]
Gift of David Doret and Linda G. Mitchell, 2018., Textile shot bag. On the front of the bag in red letters: “Standard Drop Shot, T.W. Sparks, Philadelphia. 7.” An eagle in red is in the center. Inside the bag is a newspaper clipping, “A Brief History, Sparks Shot Tower.”, Opened in 1808 by Thomas Sparks and John Bishop, the 142 foot tall brick tower revolutionized the manufacture of ammunition. Gun shot was made by pouring lead from the top of the tower. The lead developed a round shape through falling and solidified in cold water at the bottom. Four generations of Sparks operated the tower until 1903 when it was sold to the United Lead Company. The City of Philadelphia bought the site in 1913.
The painting is signed "S. Jennings Pinxt.1792" on a scroll in the lower right corner. The frame is original, made by the Philadelphia carver and gilder James Reynolds (c. 1736-1794)., LCP Minutes vol. 3, April 1, 1790, p. 195-197: "Extract of a Letter from Samuel Jennings, dated London January 12th, 1790. `My Dear Father. Having lately received Information that an Elegant Building is now erecting for the Philadelphia Library, an Idea immediately struck me, that if it would not be thought presumptuous, I should esteem myself very happy to have the honor of presenting a Painting to the Company that would be applicable to so noble, and useful an Institution, and which if agreeable to the Gentlemen who have the Directions of it, shall use my utmost exertion & abilities to make it acceptable; the great affection I retain for my native Country, will always be an inducement to me to contribute my mite towards the Encouragement of Arts and Sciences, hoping in due time, they will arrive to as great perfection as they are at present, in the place I now reside--- As I do not know who the Gentlemen are that have the direction of the Library, I request you will be so obliging as to communicate to them the Information I have given you, and if they should be pleased to approve of it, as I hope they will, it will be necessary for me to be acquainted with the length, breadth and height of the Room, together with the Situation they would wish to place in it, and if over the Fire-place, the distance from the Mantle-piece to the Ceiling-- You will perhaps think me too particular, but these are things essentially necessary--/As soon as I receive an answer from you with their approbation, which I hope will be by the first Packet from New York, or any other immediate opportunity, I shall put the piece into Execution., In regard to the subject, there are three, which I think would be applicable to the Institution vizt. Cleo - Goddess of History, and Heroic Poetry. Calliope - Goddess of Harmony, Rhetoric, & Heroic Poetry - Minerva- Goddess of Wisdom & all the Arts, The Presidentess of Learning, which seems to comprehend everything that can be desired.The dress of Minerva is grand, and would make a better picture than either of the others. But if my other Subject should be their choice, I shall with plesure, comply with it-' This handsome Compliment from one of our Fellow Citizens now in London, is gratefully received, and Mordecai Lewis, John Kaighn, Doctor Parke, Thomas Morris and Richard Wells, are appointed a Committee to prepare a Letter to go by the next Packet expressive of the high Sense which the Board entertain of the genteel proposal, and that the Committee take the subject of the picture into consideration, and transmit their opinion thereon-.", Vol. 3, May 6, 1790, p. 206-207: "The Committee appointed by the last board reported that they had transmitted a letter to Samuel Jennings in answer to his polite and liberal offer of a painting for this Institution which was read and ordered to be entered on the minutes--- `Phila. April 3, 1790, Esteemed Friend- The Directors of the Library Company of Philadelphia having been furnished with an extract of thy letter respecting a Piece of Painting intended for the Library they have instructed us to transmit their grateful acknowledgments for so genteel a notice of their Institution--To recieve such a proof of Attachment from one of their Fellow-Citizens, at so great a distance, must be truly pleasing to every Member of the Company, to whom the Directors will have an opportunity of communicating it, at their annual Election next month-/ The Board have considered the three Subjects submitted to their Choice, and readily agree in giving a preference to that of Minerva; but as a more general latitude has been so politely granted, they take the liberty of suggesting an Idea of Substituting the figure of Liberty/with her Cap and proper Insignia/displaying the arts by some of the most striking Symbols of Painting, Architecture, Mechanics, Astronomy etc, whilst She appears in the attitude of placing on the top of a Pedestal, a pile of books, lettered with, Agriculture, Commerce, Philosophy, & Catalogue of Philadelphia Library., A broken chain under her feet, and in the distant background a Groupe of Negroes sitting on the Earth, or in some attitude expressive of Ease & Joy -/ This is handed merely as a Sketch of what struck the Directors, but they have so much diffidence on Subjects of this nature, that they wish to submit the whole to thy own Judgment-/ We are on behalf of the Directors very respectfully Thy Friends. Signed by Richard Wells, Thomas Morris, Thomas Parke, John Kaighn'., Gift of Samuel Jennings, 1792., Exhibited in: Art Institute of Chicago's exhibition, From Colony to Nation (1949); Corcoran Gallery of Art's exhibition, American Processional (1950); Library Company and Historical Society of Pennsylvania's exhibtion, Negro History, 1553-1903 (1969); The National Portrait Gallery's exhibition, The Black Presence in the Era of the American Revolution, 1770-1800 (1973); Library Company and Historical Society of Pennsylvania's exhibtion, Women 1500-1900 (1974); Library Company's exhibition, Quarter of a Millennium (1981); Corcoran Gallery of Art's exhibition, Facing History, The Black Image in American Art, 1710-1940 (1990).
A suggestion box with the face of a lion depicted and the words, "Gentlemen are Requested to deposit in the Lion's Mouth the titles of such Books as they may wish to have Imported" painted underneath., Made for the Library Company., Exhibited in, Benjamin Franklin: In Search of a Better World (2005-2007).
Tradecard illustrated with two female allegorical figures representing Prosperity (left) and Art (right). Figure of Abundance wears a Roman-style gown, with one breast exposed, and rests one hand on a cornucopia filled with fruits and grains. She leans toward the direction of Art who wears netting in her hair and a draped gown. She holds a paint brush in one hand and a palette in the other. She looks toward Abundance. Grass, twigs, and bushes surround the figures. Boell, a French-born lithographer, worked in New York 1854-1858 before relocating to Philadelphia, where he was active until the 1880s. He operated from 311 Walnut Street circa 1859-circa 1865., Not in Wainwright., Philadelphia on Stone, POSA 107, Forms part of Specimens Album [P.9349].
Creator
Boell, William
Date
[ca. 1863]
Location
Library Company of Philadelphia | Print Department albums - Specimens Album [P.9349.151s]
Book advertisement containing landscape views, allegorical figures, and artist and printer's tools. Shows the allegorical figure Art as she leans on a pedestal that is covered in vines and displays a vase of flowers. She stands on a moss covered rock marked "Labels" that is surrounded by a stone tablet, possibly a lithographer's stone, inscribed "Manufacturers of Transferable Pictures"; a press machine; and a paint palette resting on a book. In the background, trees, hills, and a bridge spanning a river near townscape are visible. Breuker & Kessler, a partnership between George W. Breuker & Harry C. Kessler, operated circa 1867-1880., Not in Wainwright., Published in Edwin Freedley's Philadelphia and its manufactures: a hand-Book of the great manufactories and representative mercantile houses of Philadelphia, in 1867(Philadelphia: Edward Young & Co., 1867), opp. p. 134., Philadelphia on Stone, POSA 7, Historical Society of Pennsylvania: Ba 39 B 750
Creator
Breuker & Kessler Co.
Date
[1867]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1867 Free 55213.O.134a
Poster containing seated figures incorporated into the lettering to promote the exhibition of the professional artists' club founded in 1860. Figures include a female muse working with a sketch, and cherubic boys sculpting a bust and painting from a palette. Letters designed as trees, vinery, and a fish tail., Not in Wainwright., Philadelphia on Stone, POSP 80, Stein & Jones established in 1859 was active under that name until the death of Stein in 1871., Cresson, an illustrator, was an early member and served as secretary of the club 1863-1864.
Creator
Cresson, William Emlen, 1843-1868, artist
Date
[1865]
Location
Library Company of Philadelphia | Print Department albums - Specimens Album [P.9349.75b]
Souvenir album containing captioned photographs of sites at the Paris Universal Exposition of 1878 held May 1-November 10, 1878 to celebrate the recovery of France following the Franco-Prussian War of 1870. Includes Palais du Trocadéro designed by Gabriel Davioud and Jules Bourdais; Vue Générale du Palais du Champ de Mars; Palais du Champ de Mars; Galerie d'Iéna; Galerie des Machines; Pavillion de la Ville de Paris; Façade des Galeries des Beaux-Arts; Rue des Nations (facades to the international exhibitors inside the Palace of Industry); Façade de la Section Belge; Façade de la Section Chinoise; Le Palais Algérien; and Pavillon des Eaux et Forêts. Views include landscaping, a pond, a bridge, exhibit cases, and steam-operated machinery, including printing presses., Red morocco binding stamped with illustration designed by bookbinders Lofficiau & Munzinger. Illustration depicts the main building and grounds in the Champs de Mars (Palais du Champ de Mars). In the foreground, the allegorical female figure Ceres sits among tools, equipment, and symbols representing art, industry, and technology. Includes a camera, paint palette, locomotive, wheels, a distillery, compass, books, an anvil, and a caduceus., Inscribed on front free endpaper: Bertha C. Moras. A tiny memento of the visit to the Paris Exhibition of 1878., Gift of Michael Zinman., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Date
[1878]
Location
Library Company of Philadelphia | Print Department Michael Zinman World's Fairs Collection - Souvenirs [P.2008.36.44]
Directory advertisement containing an allegorical, patriotic scene. Shows the figure of Columbia, attired in a toga, American flag, and laurel wreath, with a broken shackle under her foot as she stands on a pedestal. She holds a sword in one hand beside an American eagle perched on a shield and a laurel wreath in the other in front of a sculpted bust of George Washington. The bust rests on a pedestal adorned with a fasces. A paint palette and brushes, compass, rolls of paper, and a banner reading "Encourage American Arts" rests at the feet of Columbia. Floral details frame the sides of the image. Thomas Wagner and James M'Guigan operated a lithographic studio as partners 1846-1858., Published in McElroy's Philadelphia directory, for 1856 (Philadelphia: Edward C. & John Biddle, 1856), frontispiece., Not in Wainwright., Names of artists from variant duplicate in Poulson's scrapbooks, Illustrations of Philadelphia, vol. 1., Philadelphia on Stone, POSA 114
Creator
Wagner & M'Guigan
Date
[1856]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Dir Phila 1856 (58) 10840.O.frontispiece
Frontispiece advertising the Philadelphia lithographic studio of P.S. Duval, which received an 1849 Franklin Institute medal for advancement in chromolithography. Contains allegorical, patriotic, romantic, and art-themed iconography. Includes a female allegorical figure, wearing a liberty cap, who holds a cornucopia under one arm, and raises a laurel wreath with the other. She stands on an American shield covered by a sword, palette, book, architectural plan, globe, and mallet. Also shows the American eagle, floral details, and two cherubs entwined in a banner reading "E Pluribus Unum.", Published in Catalogue of the twenty-third exhibition of American manufactures... (Philadelphia: William S. Young, 1853), frontispiece., Printed lower right corner: (See Page 491)., Not in Wainwright., Philadelphia on Stone, POSA 84, Variant of illustration in Patent office report. Part 1. 1849. [P.2002.67.68]
Creator
Schussele, Christian, 1826?-1879, artist
Date
1853, c1850
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1853 Exhib 14181.O .5.frontispiece
Book illustration advertising the Philadelphia lithographic studio of P.S. Duval, which received an 1849 Franklin Institute medal for advancement in chromolithography. Contains allegorical, patriotic, romantic, and art-themed iconography. Includes a female allegorical figure, wearing a liberty cap, who holds a cornucopia under one arm, and raises a laurel wreath with the other. She stands on an American shield covered by a sword, palette, book, architectural plan, globe, and mallet. Also shows the American eagle, floral details, and two cherubs entwined in a banner reading "E Pluribus Unum.", Printed upper right corner: Patent Office Report. Part 1. 1849., Printed lower right corner: (See Page 491)., Not in Wainwright., Philadelphia on Stone, POSA 10, Gift of Helen Beitler., Variant of frontispiece published in Catalogue of the twenty-third exhibition of American manufactures... (Philadelphia: William S. Young, 1853). [LCP Am 1853 Exhib 14181.O.5]
Creator
Schussele, Christian, 1826?-1879, artist
Date
c1850
Location
Library Company of Philadelphia | Print Department BW - Advertisements - D [P.2002.67.68]
Souvenir print, or possibly design for a membership certificate, for the professional artists' club founded in 1860. Contains an oval-framed depiction of a near nude, slightly draped cherubic boy, holding a scroll under one arm, and an artist's tongs in his other hand, as he leans on a bust of Minerva. Includes a silhouette of the boy and bust. Clasp-shaped adornments containing filigree details flank the oval. Clasps adorned with a sketchbook and paint palette that enclose a pencil and paintbrush, respectively., Not in Wainwright., Philadelphia on Stone, POSP 187, Stein & Jones established in 1859 was active under that name until the death of Stein in 1871.
Date
[ca. 1865]
Location
Library Company of Philadelphia | Print Department albums - Specimens Album [P.9349.69]
View of ornate arch framing door to the Art Alliance at 251 S. 18th Street, Philadelphia, built in 1906 as the residence of Samuel P. Wetherill. In 1926, it became the home of the Philadelphia Art Alliance, the oldest multi-disciplinary arts center in the United States., Photographer's manuscript note on verso: An ornate but interesting doorway. Excellent proportions and carvings of exquisite workmanship. In the style of the renessance [sic]. 18 St. bet[ween] Spruce and Locust Sts. Renaisssance., Gift of Margaret Odewalt Sweeney., Retrospective conversion record: original entry, edited.
Creator
Wilson, G. Mark (George Mark), 1879-1925, photographer
Date
ca. 1923
Location
Library Company of Philadelphia | Print Department Wilson 141 [P.8513.141], http://www.lcpimages.org/wilson/wilson141.htm
Exhibit title: Love is blind, Italy, Exhibit #340, Art Annex, Bldg. #102.
Sculpture of a nude woman with flowers around her legs. A Cupid is above her, covering her eyes with his hands.
Opening day ceremony of the 1876 Centennial Exhibition, May 10, 1876. Depicts Art Gallery with trolley cars and crowd of attendees with umbrellas under stormy skies.
Three-quarter length portrait of the Philadelphia Quaker philanthropist who was a president of the American Colonization Society. Shows Cresson standing and attired in a white collared shirt, a black cravat, a black waistcoat with a gold pocket watch chain, a black jacket and pants. Cresson holds a manuscript map on top of a table in the right, which also has books, a quill, and an inkwell on top of it. In the left is a chair that has African artifacts and art objects, including a spear and a figurine of a nude female form. Behind Cresson is a large, white column. A sailing ship is visible in the background., Title from printed signature of sitter below image., Variant of print originally published as frontispiece in Frederick Freeman's A plea for Africa (Philadelphia: Printed by William Stavely, 1838). Contains imprint "Printed by Sansom.", Gift of David Doret, 2004., Description revised 2021., Access points revised 2021.
Creator
Sartain, John, 1808-1897, engraver
Date
[ca. 1838-ca. 1854]
Location
Library Company of Philadelphia | Print Department portrait prints - C [P.2004.46.6]
Advertisement calendar for 1858 containing classical figures, patriotic imagery, and scenes of a printer's establishment. Imagery includes the allegorical figures for art, music, prosperity, commerce, and time; the American eagle, shield, and flag; birds; cherubs; water sprites; and floral ornamentations. Scenes show artisans at work at lithographic and printing presses, a woman colorist, an artist at his drawing table, and a printer choosing typeface. Other pictorial elements depict symbols of art, trade, and industry, including a palette, globe, and bust. Filigree borders several of the images., Not in Wainwright., Name of possible printer from manuscript note on verso., Inset cut in upper portion of print., Philadelphia on Stone, POSA 3, Originally part of Charles A. Poulson's scrapbooks of illustrations of Philadelphia.
Date
[1858]
Location
Library Company of Philadelphia | Print Department *BW - Advertisements - C [(2)1525.F.3]
Full-length portrait of Mai (known as Omai in Britain,) a young indigenous man from Raiatea, who became the second Pacific Islander to visit Europe. Mai is depicted with long, black hair, barefooted, attired in a white robe, and has tattoos on his hands. He holds a feather taumi (gorget) in his right hand and a carved wooden headrest, which may have doubled as a stool, under his left arm. Mai acted as an interpreter to James Cook and joined the crew of the H.M.S. Adventure, traveling to London in 1774. During his two-year stay in England, he became admired by London high society and painted and sketched by a number of artists including Sir Joshua Reynolds, William Hodges, William Parry, and Nathaniel Dance. Mai returned to Tahiti in 1776., Title and date from item.
Creator
Bartolozzi, Francesco, 1727-1815, engraver
Date
October 25, 1774
Location
Library Company of Philadelphia | Print Department **portrait prints - O [(3)5750.F.180a]
View looking toward the altar (east end) of the church built 1838-1839 after the designs of master designer and parishioner John Darragh at 321-327 Willings Alley. Shows the altar comprised of doubled Ionic columns surmounted by a bold curved pediment adorned with six tall candles and the Crucifixion painting by parishioner Sylvano Martinez. Two female parishioners sit and another stands, under chandeliers, in the front row of the pews in the left and right of the image. Also shows the side chambers flanking the altar, balconies, and framed paintings hanging on the walls., Philadelphia on Stone, POS 388, Wainwright retrospective conversion project, edited., Historical Society of Pennsylvania:
Creator
Hoffy, Alfred M., b. ca. 1790, artist
Date
[ca. 1840]
Location
Library Company of Philadelphia | Print Department *W187 [P.2052]
Fair certificate containing vignettes and scenes related to agriculture, horticulture, and industrial arts. At the top, a female allegorical figure, sits upon a rug-covered throne with her arms outstretched. She is flanked by symbols of agriculture, including wheat, farm produce, and livestock. On the sides, vignettes depict tools and products of the book arts and fine arts, a threshing machine, a steam locomotive, and stems of flowers, and a grape vine. At the bottom, a historical scene of Egyptians slaves, in front of the pyramids and under the view of an overseer, cutting wheat with sickles is contrasted to a farmer harvesting his field with a horse-drawn reaper. The Pennsylvania State Agricultural Society was founded in 1851 by representatives from 50 counties with the object to "foster and improve agriculture, horticulture, and the domestic and household arts." The first annual exhibition of the society was held the same year., Not in Wainwright., Issued to Henry Disston & Sons, Phila. on Sept. 30, 1885 for improved carpenter tools. A. W. Seiler, Secretary. A. Wilhelm, President., Seal of the society with ribbon pasted on the recto., Philadelphia on Stone, POSP 56, Historical Society of Pennsylvania: Certificates - Pennsylvania State, Inscribed on verso: Wm. D. Disston, Feb. 19, 1956., Left side water stained and torn.
Creator
Faber, Harman, 1832-1913, artist
Date
[ca. 1875]
Location
Historical Society of Pennsylvania HSP Certificates - Pennsylvania State
Interior view of the Connecticut State Building. Depicts a room with high ceilings, wood paneled walls and floors, and a fireplace in the central area of the back wall. Also shown is a table with multiple chairs, a portrait hanging above the fireplace, a hanging banner with a list of names, a grandfather clock, and a variety of other objects and collectibles.
View of "Plante Merveilleuse"--Marvelous Plant--in the Agricultural Hall. Depicts a rope-like tapestry that is actually natural roots. Also shown is an ornate glass display chest, along with a table topped with glass bottles, a model ship, and cloth sacks.
Statues of two children. Joy is smiling at a live animal in her hand, Grief is crying over a dead one.
The actual title of "Joy" is "Delight" and the actual title of "Grief" is "A Child's grief".
